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»La 3ᵉ exposition de peinture«
1877
Paris
Third exhibition in Paris in 1877
4 April - 30 April 1877
Rue Le Peletier 6 (opposite the Durant-Ruel gallery)
241 works in the catalogue (4 out of catalogue) - 18 artists
The Impressionists are often thought of as a homogeneous group whose artistic goals were all the same. However, if you contrast Edgar Degas with the painter Claude Monet, the difference in their artistic approach becomes very clear. Degas was not a great fan of "plein-air painting", while Monet only painted in this style.
Here are two examples from the third exhibition:
Claude Monet - No. 94 - Dans la prairie.
1876 - 32 x 42 cm - Oil on canvas
Private property
Provenance: Moffett/Berson/Christie's /Wildenstein Monet Vol II No. 405
Edgar Degas - No. 44 - Café-concert.
1876/77 - 37 x 28 cm - Pastel on monotype
Musée de Beaux-Arts, Lyon >
Provenance: Moffett/Berson/Catalogue Raisonné Edgar Degas
While the group had still met quite regularly at Café Guerbois in the early seventies to discuss their work in heated debates, towards the end of the decade they lived in different places to pursue their painting. Contact was largely maintained through mutual visits and letters. The financial situation of the individuals was also very different. Monet, for example, was constantly short of money and had to flee from his creditors. His colleagues often helped him out.
At the members' meeting after the second exhibition, the year 1878 was initially envisaged for the next exhibition. Caillebotte, who took part in the second exhibition for the first time, was able to use his enthusiasm to persuade the others to take the plunge and organise the next exhibition in 1877.
However, the rooms at Durand-Ruel were occupied, so they looked for others and found a very large empty flat on the second floor at 6 Rue Peletier not far away. Caillebotte advanced the rent. At a meeting, it was decided not to exhibit at the same time as the annual Salon. Degas successfully fought against the title "Exhibition of the Impressionists".Only 18 painters took part in the exhibition. The list included the following names: Gustave Caillebotte, Adophe-Félix Cals, Paul Cézanne, Frédéric Cordey, Edgar Degas, Jacques François (a pseudonym), Armand Guillaumin, Franc Lamy, Jean-Baptiste Levert, Alphonse Maureau, Claude Monet, Berthe Morisot, Ludovic Piette, Camille Pissarro, Pierre-Auguste Renoir, Henri Rouart, Alfred Sisley and Charles Tillot. The number of paintings was 241, which were listed in the catalogue, as well as some paintings outside the catalogue.
Organisation: Gustave Caillebotte
Hanging of Renoir, Pissarro, Caillebotte and Monet.
Visitors: approx. 8,000
Examples from the exhibition
The numbers given in the 1877 catalogue are placed in front of the picture titles below.
The picture titles correspond to those in the 1877 catalogue.
The provenance information lists those research sources that indicate certain proof of the respective work in the exhibition or (•) a high probability.
Gustave Caillebotte
Self-portrait
1873 - Oil on canvas - Private collection
Caillebotte was the driving force behind this exhibition. His enthusiasm drew everyone else along with him. He wrote to Sisley: "Durand-Ruel's rooms have been rented out for a whole year... But we don't want to lose heart, because there are some new possibilities. The exhibition will materialise; it must..."
6 pictures in the catalogue
No. 1 - Rue de Paris; Temps de pluie.
1877 - 212 x 276 cm - Oil on canvas
Institut d'art de Chicago, Chicago >
Provenance: Moffett/Berson/Museum/Caillebotte Catalogue Raisonné Wildenstein No. 57
No. 2 - Le pont de l'Europe.
1876 - 125 x 181 cm - Oil on canvas
Musée du Petit Palais, Genève
Provenance: Moffett/Berson/Caillebotte Catalogue Raisonné Wildenstein No. 49
No. 3 - Portraits à la champagne.
1876 - 95 x 111 cm - Oil on canvas
Musée Baron Gérard, Bayeux >
Provenance: Moffett/Berson/Museum/Caillebotte Catalogue Raisonné Wildenstein No. 40
No. 4 - Portrait de madame C...
1877 - 83 x 72 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Caillebotte Catalogue Raisonné Wildenstein No. 58
No. 5 - Portraits.
1877 - 46 x 56 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Auktion Bonhams/Caillebotte Catalogue Raisonné Wildenstein No. 62
No. 6 - Paintres en bâtiments.
1877 - 89 x 116 - Oil on canvas
On loan to the Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Museum/Caillebotte Catalogue Raisonné Wildenstein No. 53
Paul Cézanne
Cézanne - ca 1875
In addition to the portrait of Chocquet, Cézanne showed over a dozen paintings: Watercolours as well as still lifes and landscapes. The works are now almost all in the style Cézanne was aiming for. For example, in the use of cold-warm contrasts, the typical brushstroke. The largest room in the exhibition was reserved for Cézanne together with Berthe Morisot, which was tantamount to a place of honour. Nevertheless, it was Cézanne's works that caused a lack of understanding among the public. Chocquet, who turned up at the exhibition almost every day and stayed there for hours, tried to convince the visitors, "he was always ready, always found the right expressions concerning his painter friend. He was tireless when it came to Cézanne, whom he counted among the greatest..." wrote Théodre Duret.
16 pictures in the catalogue
No. 17 - Nature morte.
ca. 1873/77 - 45 x 55 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Christie's/Catalogue Raisonné - Cézanne No. 744
No. 18 - Nature morte.
1877 - 59 x 73 cm - Oil on canvas
Philadelphia Museum of Art >
Provenance: Moffett/Berson/Catalogue Raisonné - Cézanne No. 745
No. 19 - Nature morte.
1876/77 - 46 x 55 cm - Oil on canvas
Metropolitan Museum of Art, New York >
Provenance: Moffett/Berson/Museum/Catalogue Raisonné - Cézanne No. 742
No. 20 - Étude de fleurs.
1873/75 - 55 x 46 cm - Oil on canvas
Hermitage Museum, St Petersburg >
Provenance: Moffett/Berson/Catalogue Raisonné - Cézanne No. 732
21 - Étude de Fleurs.
1876 - 73 x 60 cm - Oil on canvas
National Gallery of Art, Washington >
Provenance: Moffett/Museum/Catalogue Raisonné - Cézanne No. 722
No. 22 - Paysage; Étude d'après nature.
1875/76 - 50 x 65 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Catalogue Raisonné - Cézanne No. 102
No. 23 - Paysage. Étude d'après nature.
1876 - 42 × 59 cm - Oil on canvas
Private collection, at present: The National Gallery, London >
Provenance: Moffett/Berson/Museum/Catalogue Raisonné - Cézanne No. 96
No. 24 - Paysage. Étude d'après nature.
1876/77 - 60 x 50 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Catalogue Raisonné - Cézanne No. 99
No. 25 - Paysage, Étude d'après nature.
ca. 1876 - 50 x 65 cm -Oil on canvas
Private collection
Provenance: Moffett/Berson/Christie's/Catalogue Raisonné - Cézanne No. 90
No. 26 - Les baigneurs; Étude, projet de tableau.
ca. 1876/77 - 82 x 101 cm - Oil on canvas
The Barnes Foundation Collection, Philadelphia >
Provenance: Museum/Catalogue Raisonné - Cézanne No. 926
No. 27 - Tigre.
1876/77 - 29,2 x 36,8 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Catalogue Raisonné - Cézanne No. 648-TA
No. 28 - Figure de femme. Étude d'après nature.
ca. 1877 - 26 x 31 cm - Oil on canvas
Private collection
Provenance: Catalogue Raisonné - Cézanne No. 441
No. 29 - Tête d'homme; Étude.
1875 - 46 x 37 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Catalogue Raisonné - Cézanne No. 437
No. 30 - Aquarelle; Impression d’après nature.
1867/70 - 23 x 34,5 cm - Watercolour and gouache over pencil on wove paper
Städel Museum Frankfurt >
Provenance: Moffett/Berson/Catalogue Raisonné - Cézanne No. 1013
No. 31 - Aquarelle; Impression d’après nature.
ca. 1867 - 21 x 34,5 cm -Pencil, watercolour and gouache on paper
Eisei Bunko Museum, Tokio >
Provenance: Moffett/Berson/Catalogue Raisonné - Cézanne No. 1014
No. 32 - Aquarelle; Fleurs.
ca. 1870/75 - 18 x 14 cm - Gouache on paper
Private collection
Provenance: Moffett/Berson/Museum/Catalogue Raisonné - Cézanne No. 1900
(außer Katalog) hc. - Scène fantastique / Le Pêcheurs
ca. 1875 - 55 x 82 cm - Oil on canvas
The Metropolitan Museum of Art, New York >
Provenance: Moffett/Berson/Museum/Catalogue Raisonné - Cézanne No. 634
Edgar Degas
Portrait Degas - Drawing by Emile de Specht ca. 1878
Edgar Degas was represented with 25 paintings in what was probably one of the most beautiful exhibitions of the Impressionist group. During these years, Degas had worked very intensively with pastel painting and so he showed a fine selection of pictures in this technique. However, he remained true to his policy of mostly not painting outdoors and devoted himself to his preferred subjects, such as the theatre, cafés or nudes while bathing.
25 pictures in the catalogue
No. 37 - Femmes devant un café, le soir.
1877 - 41 x 60 cm - Pastel over monotype
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Museum/Catalogue Raisonné Edgar Degas
No. 38 - École de danse.
ca. 1873 - 48 x 62 cm - Oil on canvas
National Gallery of Art, Washington DC >
Provenance: Moffett/Museum/Catalogue Raisonné Edgar Degas
No. 39 (oder 57) - Ballet.
1876/77 - 58 x 42 cm - Pastel over monotype
Musée d’Orsay, Paris >
Provenance: Berson/Museum/Catalogue Raisonné Edgar Degas
No. 40 - Danseuse, un bouquet à la main.
1877 - 67 x 38 cm - Oil painting and petrol, pastel on canvas
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Museum/• Catalogue Raisonné Edgar Degas
No. 41 - Danseuses à la barre.
1877 - 76 x 81 cm - Oil colours mixed with turpentine on canvas
Metropolitan Museum of Art, New York >
Provenance: Moffett/Berson/Museum/Catalogue Raisonné Edgar Degas
No. 43 - Café-Concert.
1876/77 - 23,5 x 43,2 cm - Pastel over monotype
National Gallery of Art, Washington DC >
Provenance: Moffett/Berson/Museum/Catalogue Raisonné Edgar Degas
No. 45 - Femme sortant du bain.
ca. 1876 - 16 x 21,5 cm - Pastel over monotype
Musée d’Orsay, Paris >
Provenance: Moffett/Berson/Museum
No. 46 - Femme prenant son tub le soir.
ca. 1876/77 - 15,9 x 21,6 cm - Pastel over monotype
Norton Simon Art Foudation, Pasadena >
Provenance: Moffett/Berson
No. 47 - Choristes.
1877 - 27,1 x 32,3 cm - Pastel over monotype
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Museum/Catalogue Raisonné Edgar Degas
No. 49 - Portrait de monsieur H. R...
ca. 1875 - 66 x 50 cm - Oil on canvas
Carnegie Museum of Art, Pittsburg (Pennsylvania) >
Provenance: Moffett/Berson/Catalogue Raisonné Edgar Degas
No. 50 - Bains de mer; Petite fille peignée par sa bonne.
ca. 1870 - 46 x 81 cm -Oil on paper laminated on canvas
The National Gallery, London >
Provenance: Moffett/Berson/Museum/Catalogue Raisonné Edgar Degas
No. 53 - Portrait.
1867 - 59 x 44 cm - Oil on canvas
Isabella Steward Gardner Museum, Boston >
Provenance: Moffett/Berson
No. 54 - Portrait.
1867 - 27 x 22 cm - Oil on canvas
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Museum
No. 56 - Cabinet de toilette.
ca. 1876 - 18 x 14 cm - Pastel over monotype in black ink on dark brown laid paper
Musée d'Orsay, Paris >
Provenance: Berson/Museum/Catalogue Raisonné Edgar Degas
No. 57 (oder 39) - Ballet.
1877 - 36 x 72 cm - Pastel over monotype on cream-coloured laid paper
Art Institute Chicago >
Provenance: Moffett/Museum
No. 61 - Répétition de ballet.
ca. 1874 - 54 x 73 cm - Oil paint over watercolour and pastel on paper on canvas
Metropolitan Museum of Art, New York >
Provenance: Moffett/Berson/Museum/Catalogue Raisonné Edgar Degas
(except catalogue) hc. - Dans un café. (L'Absinthe)
ca. 1876 - 92 x 68 cm - Öl auf Leinwans
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Museum/• Catalogue Raisonné Edgar Degas
Armand Guillaumin
12 pictures in the catalogue
No. 63 - Route de Clamart à Issy.
1873/77 - 61 x 100 cm - Oil on canvas
City Museums and Art Gallery, Birmingham >
Provenance: Moffett/Berson
No. 64 - Viaduc de Fleury.
nach 1869 - 51 x 65 cm - Oil on canvas
Art Institute Chicago >
Provenance: Moffett/Museum
No. 71 - Femme couchée.
1877 - 49 x 65 cm - Oil on canvas
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Museum
Claude Monet
Claude Monet -portrayed by Renoir
ca 1876 - 84 x60 cm - Musée d'Orsay
Monet was represented with 35 paintings, including many views of the Gare St. Lazare. A series of paintings that focused on the atmosphere of the "cathedrals of industrialisation" of the time. Eleven of his paintings were made available by other owners, such as Manet. As always, Manet could not be persuaded to take part in the presentation, but helped his friends as much as he could.
30 pictures in the catalogue
No. 91 - La mare à Montgeron.
ca. 1876 - 58 x 81 cm cm - Oil on canvas
Private property
Provenance: • Moffett/Berson/Wildenstein Monet Vol II No. 419
No. 93 - Les Dalhias (Montgeron).
1876 - 60 x 81 cm - Oil on canvas
Museum Barberini, Berlin >
Provenance: Moffett/Berson/Museum/Wildenstein Monet Vol II No. 417
No. 95 - Les Tuileries.
1876 - 54 x 73 cm - Oil on canvas
Musée Marmottan Monet, Paris >
Provenance: Berson/Wildenstein Monet Vol II No. 401
No. 96 - Paysage: le parc Monceaux.
1876 - 60 x 82 cm - Oil on canvas
Metropolitan Museum of Art, New York >
Provenance: Moffett/Berson/Museum/Wildenstein Monet Vol II No. 398
No. 97 - Arrivée du train de Normandie, gare St. Lazare.
1877 - 60 x 80 cm - Oil on canvas
Art Institute Chicago >
Provenance: Moffett/Berson/Museum/Wildenstein Monet Vol II No. 440
No. 98 - Le pont de Rome (gare St-Lazare).
1877 - 65 x 81 cm - Oil on canvas
Musée Marmottan Monet, Paris >
Provenance: Moffett/Berson/Wildenstein Monet Vol II No. 442
No. 99 - Portrait d'enfant.
1877 - 81 x 60 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Wildenstein Monet Vol II No. 434
No. 100 - La gare St-Lazare, arrivée d'un train.
1877 - 83 x 101 cm - Oil on canvas
Havard Art Museums, Cambridge (Massachusetts) >
Provenance: Moffett/Berson/Museum/Wildenstein Monet Vol II No. 439
No. 101 - Les Dindons (décoration non terminée).
1877 - 174 x 172 cm - Oil on canvas
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Wildenstein Monet Vol II No. 418/Museum
No. 102 - Vue intérieure de la gare St-Lazare.
1877 - 75 x 105 cm - Oil on canvas
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Museum/Wildenstein Monet Vol II No. 438
No. 105 - Les Tuileries; Esquisse.
1875 - 50 x 73 cm - Oil sketch on canvas
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Wildenstein Monet Vol II No. 403/Museum
No. 107 - La plaine de Gennevilliers.
1877 - 50 x 61 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Christie's/Wildenstein Monet Vol II No. 337
No. 108 - Effet d'automne à Montgeron.
1877 - 73 x 54 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Wildenstein Monet Vol II No. 431
No. 110 - Marine (Ste-Adresse).
1867 - 52 x 92 cm - Oil on canvas
Musée D'Art et d`Histoire, Genf >
Provenance: Moffett/Berson/Wildenstein Monet Vol II No. 94
No. 111 - Le grand quai au Havre (Esquisse).
1874 - 61 x 78 cm - Oil on canvas
Hermitage Museum, St. Petersburg >
Provenance: Moffett/Berson/Wildenstein Monet Vol II No. 365
No. 114 - Portrait.
1876/77 - 116 x 88 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Wildenstein Monet Vol II No. 436
No. 115 - Intérieur d'appartement.
1875 - 81 x 60 cm - Oil on canvas
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Wildenstein Monet Vol II No. 366/Museum
No. 119 - Le Jardin des Tuilleries.
1876 - 60 x 80 cm - Oil on canvas
Private property
Provenance: • Moffett/Berson/Wildenstein Monet Vol II No. 403
(außer Katalog) hc. - La Gare Saint-Lazare, à l’extérieur (Le Signal)
1877 - 65 x 81 cm - Oil on canvas
Niedersächsisches Landesmuseum Hannover >
Provenance: Moffett/Berson/Wildenstein Monet Vol II No. 438
Berthe Morisot
Eduard Manet - Portrait Berthe Morisot
1873 - 42 x 32 cm - Musée Marmottan, Paris
Berthe Morisot favoured painting family scenes, women or children, which she bathed in light with her own lightness and freedom of expression. "Painting is as necessary to me as breathing," she once wrote.
12 pictures in the catalogue
No. 120 - Tête de jeune fille.
1876 - 62 x 52 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Sotheby's
No. 121 - La Psyché.
1876 - 65 x 54 cm - Oil on canvas
Museo Nacional Thyssen-Bornemisza, Madrid >
Provenance: Moffett/Berson/Museum/Wildenstein Morisot No. 64
No. 122 - La Terrasse.
1874 - 45 x 54 cm - Oil on canvas
Fuji Art Museum, Tokyo (Japan) >
Provenance: Moffett/Berson/Wildenstein Morisot No. 37
No. 125 - Pastel.
1877 - 50 x 61 cm - Pastell auf Leinwand
Nelson Atkins Museum of Art, Kansas City >
Provenance: Moffett/Berson/Museum/Wildenstein Morisot No. 63
Camille Pissarro
Pissarro - Self-portrait
1873 - 55 x 46 cm - Musée d'Orsay
Pissarro had contributed 22 landscapes to the 1877 exhibition. And as with all joint exhibitions of the Friends, he also took on a large part of the preparation and hanging of the paintings.
22 pictures in the catalogue
No. 163 - Côte Saint-Denis à Pontoise.
1877 - 54 x 63 cm - Oil on canvas
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Museum/Wildenstein: Pissarro Vol II Nr 489
No. 164 - Le verger, côte Saint-Denis, à Pontoise.
1877 - 115 x 86 cm - Oil on canvas
National Gallery, London >
Provenance: Moffett/Berson/Museum/Wildenstein: Pissarro Vol II Nr 488
No. 165 - Sous bois, côte Saint-Denis, à Pontoise.
1876 - 65 x 54 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson
No. 166 - Jardin des Mathurins, à Pontoise.
1876 - 113 x 165 cm - Oil on canvas
Nelson-Atkins Museum of Art, Kansas City >
Provenance: Moffett/Berson/Museum/Wildenstein: Pissarro Vol II Nr 448
No. 168 - Sentier près les Mathurins, à Pontoise.
1875 - 39 x 55 cm - Oil on canvas
Private property
• Provenance: Moffett/Berson
No. 170 - Vue de Saint-Ouen-l'Aumône.
1876 - 58 x 80 cm - Oil on canvas
Yale University Art Gallery, New Haven >
Provenance: Moffett/Berson/Wildenstein: Pissarro Vol II Nr 441
No. 171 - La plaine d'Épluches (Arc-en-ciel).
1877 - 53 x 81 cm - Oil on canvas
Rijksmuseum Kröller-Müller, Otterlo >
Provenance: Moffett/Berson/Wildenstein: Pissarro Vol II Nr 495
No. 180 - La Moisson.
1876 - 65 x 92 cm - Oil on canvas
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Museum/Wildenstein: Pissarro Vol II Nr 465
No. 181 - Allée sous bois, à Montfoucault.
1874 - 65 x 92 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Wildenstein: Pissarro Vol II Nr 383
Auguste Renoir
Renoir - Self-portrait
1879 - 38 x 31 cm - Oil on canvas -
Sterling and Francine Clark Art Institute, Williamstown, Massachusetts
21 pictures in the catalogue
No. 185 - La Balançoire.
1876 - 92 x 73 cm - Oil on canvas
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Museum
Nr 186 - Bal du moulin de la Galette.
1876 - 131 x 176 cm - Oil on canvas
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Museum
No. 187 - Portrait de madame G. C.
1876/77 - 46 x 38 cm - Oil on canvas
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Museum
No. 188 - Portrait de mademoiselle G. C.
1876 - 98 x 71 cm - Oil on canvas
Artizon Museum, Tokyo >
Provenance: Moffett/Berson
No. 189 - Portrait de madame A. D.
1876 - 46 x 38 cm - Oil on canvas
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Museum
No. 190 - Portrait de M. Sisley
1874 - 65 x 54 cm - Oil on canvas
Art Institute of Chicago >
Provenance: Moffett/Berson/Museum
No. 191 - Portrait de mademoiselle S...
1877 - 56 x 46 cm - Oil on canvas
Puschkin Museum, Moskau >
Provenance: Moffett/Berson
No. 192 - Portrait de M. S...
ca. 1877 - 46 x 38 cm - Oil on canvas
Private property
Provenance: Moffett/Berson
No. 195 - La Seine à Champrosay.
1876 - 55 x 66 cm - Oil on canvas
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Museum
Alfred Sisley
Portrait Alfred Sisley by Renoir
1868 - 81 x 65 cm - Oil on canvas -
Sammlung E. G. Bührle, Zürich
Sisley exhibited 27 landscape paintings from the Paris region. Sisley, who only ever sold his paintings at very low prices throughout his life, was almost dependent on the purchases of his friends and so Manet contributed Sisley's painting of the "Bridge at Argenteuil".
17 pictures in the catalogue
No. 211 - Le chalet; Gelée blanche
1876 - 65 x 92 cm - Oil on canvas
Metropolitan Museum of Art, New York >
Provenance: Moffett/Berson/Museum
No. 214 - Sieurs de long.
ca. 1876 - 51 x 65 cm - Oil on canvas
Musée de Petit Palais, Paris >
Provenance: Moffett/Berson
No. 220 - Le pont d'Argenteuil en 1872.
1872 - 39 x 61 cm - Oil on canvas
Memphis Brooks Museumn of Art >
Provenance: Moffett/Berson/Museum
A total of 18 artists took part in the 1877 exhibition.
Here are a few examples of other artists:
Félix Cals - No. 8 - Paysage, à Saint-Siméon.
1876 - 36 x 62 cm - Oil on canvas
Philadelphia Museum of Art >
Provenance: Moffett/Berson/Museum
Felix Cals - No. 11 - Femmes effilant de l'étoupe.
1877 - 51 x 62 cm - Oil on canvas
Musée d'Orsay, Paris >
Provenance: Berson/Museum
Felix Cals - No. 13 - La Mère Dodoux.
1876 - 6ß x 48 cm - Oil on canvas
Dixon Gallery and Gardens, Memphis Tennessee >
Provenance: Moffett/Berson
Alphonse Maureau - No. 87 - Bords de la Seine.
1876/77 - 15 x 24 cm - Oil on canvas
Galleria d'Arte Moderna di Palazo Pitti, Florenz >
Provenance: Moffett/Berson
Ludovic Piette - No. 132 - Marché de la place de l'Hôtel-de-Ville, à Pontoise.
1876 - 111 x 186 cm - Oil on canvas
Musée de Pontoise
Provenance: Moffett/Berson
Ludovic Piette - No. 133/134 - Marché de Pontoise, place du Grand-Martroy.
1876 - 34 x 46 cm - Oil on canvas
Musée de Pontoise
Provenance: Moffett/Berson
Ludovic Piette - No. 153 - Jardin de la Ville, au Man. (Aquarelle).
1875 - 31 x 62 cm - Goache on paper
Private collection
Provenance: Moffett/Berson/Christie's
The third exhibition ended at the end of April. The artists agreed to organise another auction, but Monet and Berthe Morisot did not take part. Caillebotte (who simply wanted to make common cause with his friends) and Pissarro also took part, but found that the success was no greater than at the first auction of this kind: the paintings only sold at rock-bottom prices.
For Cézanne, it was the last joint exhibition with his painter friends in Paris, to which he had contributed paintings. He withdrew to the south of France in order to further develop his painting style and his artistic convictions. Ultimately, he moved away from the Impressionists and increasingly became a kind of forerunner of the Cubist idea, i.e. the idea of breaking down objects into geometric figures. These are shown in perspective, creating the impression that the same object is being viewed from several sides. After 1900, Cézanne therefore believed that nature could be reduced to a cube, cone and sphere.
Renoir and Sisley also decided not to take part in future exhibitions of their fellow artists for the time being. They only returned to the community once more in 1882 for the penultimate exhibition. Berthe Morisot would not take part in the next exhibition in 1879, as she had given birth to a daughter who was the centre of her attention.
This revealed the first very clear differences and cracks in the creative views, which were always hotly debated in the group, but never led to a common artistic consensus.
Caricature of Cham in Le Charivari 1877:
Exhibition of Impressionist painters:
"The police commissioner requests the model's address, to have her buried as quickly as possible, taking into account her state of decay"
